OPPORTUNITY | CALL FOR PAPERS:
Worldmaking As Techné: Deadline Extended
DEADLINE EXTENDED TO JANUARY 5th, 2012
The editors of this book project were drawn together by a common outlook that the creation of work is the creation of concepts, joining the efforts of theory and praxis in one process (techné), and that the results of our works are the expression of an ontological proposition (worldmaking).This connection was the catalyst to host the panel discussion, The Volatility and Stability of Worldmaking as Techné, at the Inter-Society of Electronic Arts conference 2011 (ISEA 2011). Along with invited panelists, Roy Ascott, Jerome Decock, and Marcos Novak, the panel presented a wide range of perspectives on the topic that covered theory and practice in the areas of art, architecture, and music. While well received the discussion was all too short and only scratched the surface. Thus the inspiration to launch this book project comes from a desire to further explore WorldMaking as Techné in participatory works.
The book, Worldmaking as Techné: Exploring Worlds of Participatory Art, Architecture, and Music will focus on the involvement of the techné of worldmaking in participatory art practice. Such practice can be found in all areas of art, however, under scrutiny for this particular book are: interactive, generative, and prosthetic art, architecture, and music practices that depend for their vitality and development on the participation of their observers. The book editors are seeking contributions that will challenge the level of involvement and integration of the observer within the generative praxis in a technoscientific agenda. In this spirit, contributions that cover philosophical, theoretical, and practice-based research are all welcome.
Questions that could be addressed could follow, but are not limited to:
◦ What is the aesthetic and historical context for the techné of worldmaking in relation to practice in art technology?
◦ What role does a generative and/or cybernetics-inspired approach (as compared to traditional notions of making) play in your own practice/research?
◦ What are the implications of worldmaking practice in the real world?
◦ What are the pitfalls and what role do these pitfalls play in the theoretical and/or practical approach to worldmaking?
◦ What is your interpretation of
techné and/or worldmaking and how do you apply that to your practice/research?
◦ Do you see the re-emergence of the concept of techné as integrally related to the emergence of new technology in the 20th and 21st centuries? If so, then how? If not, then why not? And why discuss this now?
◦ In the current technoscientific culture do you see participatory works as being elevated to a higher level of complexity or has yet it to realise its potential?
Abstract submission [500 words] will be accepted until the 5th of January 2012, followed by a notification of acceptance to be sent out by the end of January 2012. Upon acceptance full chapters [6000-8000 words] will be due in late April 2012. There will be a blind peer review process for all full chapter submissions. The book is targeted to launch in early January 2013.
For submissions of abstracts please send to: submissions@worldmakingastechne.net
Please do not hesitate to contact us with any queries you may have to: editors@worldmakingastechne.net
and for further information please check out our website: http://worldmakingastechne.net/
Christmas Tree and Neapolitan Baroque Crèche
on Display for Holiday Season at
Metropolitan Museum
The Christmas tree and Neapolitan Baroque crèche at The Metropolitan Museum of Art, a long-standing yuletide tradition in New York, is now on view for the holiday season through January 8, 2012. The brightly lit, 20-foot blue spruce—with a collection of 18th-century Neapolitan angels and cherubs hovering among its boughs and groups of realistic crèche figures flanking the Nativity scene at its base—once again delights holiday visitors in the Museum’s Medieval Sculpture Hall. Set in front of the 18th-century Spanish choir screen from the Cathedral of Valladolid, with recorded Christmas music in the background and daily lighting ceremonies, the installation reflects the spirit of the holiday season.
This exhibit of the crèche is made possible by gifts to The Christmas Tree Fund and the Loretta Hines Howard Fund.
The annual Christmas display has evolved through the generosity, enthusiasm, and dedication of the late Loretta Hines Howard, who began collecting crèche figures in 1925. Soon after, Mrs. Howard conceived the idea of presenting the elaborate Nativity scene within a Christmas tree, angels swirling upward to the crowning star.
This unusual combination was first presented to the public in 1957, with the Metropolitan’s first exhibition of Mrs. Howard’s collection. Since 1964, more than two hundred 18th-century Neapolitan crèche figures have been given to the Museum by Loretta Hines Howard, and they have been displayed each holiday season for more than 40 years. Linn Howard, Mrs. Howard’s daughter, worked with her mother for many years on the annual installation. Following her mother’s death in 1982, she has continued to create new settings for the figures she adds to the collection. Andrea Selby, Linn Howard’s daughter, follows the tradition passed down by her mother and grandmother and joins in the creation of the display each year.
The towering tree is adorned with cherubs and some 50 gracefully suspended angels. The landscape at the base displays the figures and scenery of the Neapolitan Christmas crib. This display mingles three basic elements that are traditional to 18th-century Naples: the Nativity, with adoring shepherds and their flocks; the procession of the three Magi and their exotically dressed retinue of Asians and Africans; and, most distinctively, a crowd of colorful townspeople and peasants representing lifelike characters with intriguing facial expressions. The theatrical scene is enhanced by a charming assortment of animals—sheep, goats, horses, a camel, and an elephant—and by background pieces that create a dramatic setting for the Nativity, including the ruins of a Roman temple, several quaint houses, and a typical Italian fountain with a lion’s-mask waterspout.
The popular Christmas custom of restaging the Nativity is traditionally credited to Saint Francis of Assisi. The employment of man-made figures to reenact the hallowed events reached its height of complexity and artistic excellence in 18th-century Naples, where local families, often assisted by professional stage directors, vied to outdo each other in presenting elaborate and theatrical crèche displays. The high artistic estimation of the genre is evidenced in works of the finest sculptors of the period—including Giuseppe Sammartino and his pupils Salvatore di Franco, Giuseppe Gori, and Angelo Viva—who were called on to model the terracotta heads and shoulders of the extraordinary crèche figures. The Howard collection includes numerous works attributed to these as well as to other prominent artists.
The Museum’s crèche figures, works of art unto themselves, range from 6 to 20 inches in height. They have articulated bodies of tow and wire, heads and shoulders modeled in terracotta and polychromed to perfection. The luxurious and colorful costumes, many of which are original, were often sewn by women of the collecting families and their ladies and enriched with jewels, embroideries, and elaborate accessories, including precious metals in the form of gilded censers, scimitars and daggers, and silver filigree baskets. The placement of the approximately 50 large angels on the Christmas tree and the composition of the crèche figures and landscape vary slightly from year to year as new figures are added to the collection.
Dramatic lighting ceremonies take place on Tuesdays, Wednesdays, Thursdays, and Sundays at 4:30 p.m., and Fridays and Saturdays at 4:30, 5:30, and 6:30 p.m. (Note: December 24th and 31th, the Museum will close at 5:00 p.m., and the lighting ceremony on those days will follow the weekday schedule.) The Museum will be open on special Holiday Mondays this year, December 26 and January 2, and the lighting ceremonies on those dates will follow the weekday schedule.
Visitors can listen to several audio messages as part of the Museum’s Audio Guide Program. Audio guides are available for rental ($7, $6 for Members, $5 for children under 12).
The Audio Guide is sponsored by Bloomberg.
As part of the Christmas celebration, several concerts—performed by Anonymous 4, Voices of Ascension, The Vienna Boys Choir, and Burning River Brass— will take place in front of the tree in the Medieval Sculpture Hall. Concert tickets for The Vienna Boys Choir are $65 each; tickets for Anonymous 4, Burning River Brass, and Voices of Ascension are $60 each. Tickets are available by calling the Department of Concerts and Lectures at 212-570-3949 or online at www.metmuseum.org/tickets. Tickets are also available at the Concerts and Lectures box office located inside the Museum’s main entrance (open Tuesday-Saturday, 10 a.m.-5:00 p.m., and Sunday, noon–5:00 p.m.).
Medieval Decorations to Mark “Christmastide” at The Cloisters from
December 13 to January 2
The wreaths and garlands that deck The Cloisters museum and gardens for the holiday season are all hand-made from plants linked with the celebration of Christmastide in the Middle Ages. Striking installations of flowers, fruits, nuts, and evergreens, inspired by medieval sources, will be on display throughout the Museum from December 13 through January 2. Visitors to The Cloisters will pass under a great arch of holly—the plant associated above all others with the medieval feast—to enter the museum. Inside, the doorways of the Main Hall will be adorned with arches of ivy, apples, hazelnuts, and rosehips, and the iron candelabra in the galleries will be dressed with greens and roses. An extensive collection of evergreen topiary, as well as displays of rosemary, cyclamen, citrus, and other potted plants appropriate to the season will be on view in the Saint-Guilhem and Cuxa Cloisters.
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A complete list of programs and activities to be held at both the Metropolitan Museum’s main building and The Cloisters during the holiday season this year—family programs, films, concerts, tours, holiday dining, shopping (in the Met’s Holiday Shop), and more—can be found on the Metropolitan Museum’s website at www.metmuseum.org.
Note: Admission is free to the main building and The Cloisters for children under the age of 12 accompanied by adults. The Museum is closed on Thanksgiving Day, December 25, and January 1. The extended holiday hours on December 24 and 31 in the main building do not apply to The Cloisters. The special Holiday Mondays this year, on December 26 and January 2, do apply to both the main building and The Cloisters.
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December 8, 2011
VISITOR INFORMATION
Hours
Fridays and Saturdays
9:30 a.m.-9:00 p.m.
Sundays, Tuesdays-Thursdays
9:30 a.m.-5:30 p.m.
Met Holiday Mondays* in the Main Building:
Dec. 26, 2011;
Jan. 2, Jan. 16, Feb. 20, April 9, and May 28, 2012
9:30 a.m.-5:30 p.m.
All other Mondays closed; Jan. 1, Thanksgiving, and Dec. 25 closed
*Met Holiday Mondays on Dec. 26 and Jan. 2 apply to The Cloisters as well.
Posted on Friday, December 16, 2011 @ 12:53 am by admin in Uncategorized